Tag Archives: WFH

Alkemy X: VFX supervisors share work from home process

By Bilali Mack and Erin Nash

On the heels of joining Alkemy X’s VFX team, what we expected of our first few weeks was quickly interrupted by a global crisis. After getting to know the company and settling in, we were tasked with responding to the COVID-19 pandemic and transitioning the staff to remote work as quickly and efficiently as possible. As a headcount, that would be 42 artists, three supervisors, three pipeline engineers, three in editorial and the I/O department, and eight production management personnel.

Erin Nash’s WFH setup

We were fortunate that Alkemy X already had systems and processes in place and ready for these virtual workflows. It was just a matter of making the decision to get ahead of state mandates and make the shift early to set ourselves up for success. Our pivot to a remote workflow was structured and executed the week prior to March 16. We began to build our plan starting Tuesday, March 10, and by that Friday, the engineering and pipeline team had built on its pre-existing security-compliant processes to roll out to the entire staff of artists and production.

The company uses RGS to connect artists to a low-latency screen-sharing session on their work computers. Since the remote artists are working off the computer they normally use at work, they still have access to all of the software, licenses and tools they have when at the office. Agile and innovative responses have made our jobs easier, despite these circumstances.

Alkemy X built an openVPN server to allow secure, encrypted, multi-factor authentication and remote access to our internal network. By working remotely, we are able to maintain security and keep assets contained within our secure network. Artists have access to their files via high-speed file servers, with no need for time-consuming file transfers.

Bilali Mack working from home

Alkemy X uses Shotgun to manage our shows and workflow, but we are leaning on it more heavily now as a first-line review tool before heading to high-resolution reviews through HP RGS. Our traditional dailies have been replaced by rolling spot checks in Shotgun followed by more exhaustive reviews of full-resolution media.

We use Google Meet for meetings, screen sharing, video chat and telephone calls. We use Slack extensively on non-networked computers for team communication, keeping everyone connected and up to date and to quickly get assistance with any technical problems.

Priority is still placed on building and maintaining the company’s culture in addition to the quality of creative work, but we’re doing so behind the top of a dining room table or bedroom-stationed desk and within steps from our kitchens.

Erin Nash

As we move from our former posts, here’s how we are individually navigating working from home:

Erin Nash: Although managing a team remotely is a new experience for me, I can’t say I have found it very difficult to transition. While the team as a whole is new to me, I have known many of the artists for years. Being able to guide their creative process and help them solve difficult technical problems from afar isn’t as different as I would have expected. Now instead of saying “Can I drive your box?” it has become “Let’s do a screen share.”

People by and large do all the same things from home that they would do in the office, with the main difference being that now nobody can tell if I’ve gone for a workout over lunch.

Bilali Mack: Starting out at any company takes time to get up to speed. Add something like a global pandemic, and you would think it would be nearly impossible not only to get up to speed, but also to manage teams, collaborate on creative and retain our company’s culture. We adapted by preparing artist and production remote on-boarding documents and deploying necessary hardware and software to any and all artists on our team.

On a cultural note, we’re still holding company happy hours and open Google Meet “office” hours, just because it’s nice to be able to jump on and chat with each other about how things are different now.

Bilali Mack

Alkemy X built an openVPN server to allow secure, encrypted, multi-factor authentication, remote access to our internal network. Alkemy X uses RGS to connect artists to a low-latency screen sharing session on their work computers. Since the artists working remotely are working off of the computer that they normally use at work, they still have access to all of the software, licenses, tools that they have when at the office. By working remotely, we are able to maintain security and keep assets contained within our secure network. Artists have access to their files via high-speed file servers and with no need to do time consuming file transfers.

Alkemy X uses Shotgun as usual to manage our shows and workflow but are leaning on it heavier now as a first line review tool before heading to high resolution reviews through HP RGS. Our traditional dailies have been replaced by rolling spot checks in Shotgun followed by more exhaustive reviews of full resolution media.

We use Google Meet for meetings, screen sharing, video chat, and telephone calls. We use Slack extensively on non-networked computers for team communication, keeping everyone connected and up to date, and to quickly get assistance with any technical problems. All regular company meetings, and Friday night happy hours are done with Google Meet.

Main Image: Bilali Mack WFH.


VFX supervisor Bilali Mack comes to Alkemy X from MPC, where he supervised and executed VFX for brands including Adidas, Google and BMW. Erin Nash joined the team from FuseFX was head of 2D/VFX supervisor, leveraging his experience across television, film and commercial work.

Posting John Krasinski’s Some Good News

By Randi Altman

Need an escape from a world filled with coronavirus and murder hornets? You should try John Krasinski’s weekly YouTube show, Some Good News. It focuses on the good things that are happening during the COVID-19 crisis, giving people a reason to smile with things such as a virtual prom, Krasinski’s chat with astronauts on the ISS and bringing the original Broadway cast of Hamilton together for a Zoom singalong.

L-R: Remy, Olivier, Josh and Lila Senior

Josh Senior, owner of Leroi and Senior Post in Dumbo, New York, is providing editing and post to SGN. His involvement began when he got a call from a mutual friend of Krasinski’s, asking if he could help put something together. They sent him clips via Dropbox, and a workflow was born.

While the show is shot at Krasinski’s house in New York at different times during the week, Senior’s Fridays, Saturdays and Sundays are spent editing and posting SGN.

In addition to his post duties, Senior is an EP on the show, along with his producing partner Evan Wolf Buxbaum at their production company, Leroi. The two work in concert with Allyson Seeger and Alexa Ginsburg, who executive produced for Krasinski’s company, Sunday Night Productions. Production meetings are held on Tuesday, and then shooting begins. After footage is captured, it’s still shared via Dropbox or good old iMessage.

Let’s find out more…

What does John use for the shoot?
John films on two iPhones. A good portion of the show is screen-recorded on Zoom, and then there’s the found footage user-generated content component.

What’s your process once you get the footage? And, I’m assuming, it’s probably a little challenging getting footage from different kinds of cameras?
Yes. In the alternate reality where there’s no coronavirus, we run a pretty big post house in Dumbo, Brooklyn. And none of the tools of the trade that we have there are really at play here, outside of our server, which exists as the ever-present backend for all of our remote work.

The assets are pulled down from wherever they originate. The masters are then housed behind an encrypted firewall, like we do for all of our TV shows at the post house. Our online editor is the gatekeeper. All the editors, assistant editors, producers, animators, sound folks — they all get a mirrored drive that they download, locally, and we all get to work.

Do you have a style guide?
We have a bible, which is a living document that we’ve made week over week. It has music cues, editing style, technique, structure, recurring themes, a living archive of all the notes that we’ve received and how we’ve addressed them. Also, any style that’s specific to segments, post processing, any phasing or audio adjustments that we make all live within a document, that we give to whoever we onboard to the show.

Evan Wolf Buxbaum

Our post producers made this really elegant workflow that’s a combination of Vimeo and Slack where we post project files and review links and share notes. There’s nothing formal about this show, and that’s really cool. I mean, at the same time, as we’re doing this, we’re rapidly finishing and delivering the second season of Ramy on Hulu. It comes out on May 29.

I bet that workflow is a bit different than SGN’s.
It’s like bouncing between two poles. That show has a hierarchy, it’s formalized, there’s a production company, there’s a network, there’s a lot of infrastructure. This show is created in a group text with a bunch of friends.

What are you using to edit and color Some Good News?
We edit in Adobe Premiere, and that helps mitigate some of the challenges of the mixed media that comes in. We typically color inside of Adobe, and we use Pro Tools for our sound mix. We online and deliver out of Resolve, which is pretty much how we work on most of our things. Some of our shows edit in Avid Media Composer, but on our own productions we almost always post in Premiere — so when we can control the full pipeline, we tend to prefer Adobe software.

Are review and approvals with John and the producers done through iMessage in Dropbox too?
Yes, and we post links on Vimeo. Thankfully we actually produce Some Good News as well as post it, so that intersection is really fluid. With Ramy it’s a bit more formalized. We do notes together and, usually internally, we get a cut that we like. Then it goes to John, and he gives us his thoughts and we retool the edit; it’s like a rapid prototyping rather than a gated milestone. There are no network cuts or anything like that.

Joanna Naugle

For me, what’s super-interesting is that everyone’s ideas are merited and validated. I feel like there’s nothing that you shouldn’t say because this show has no agenda outside of making people happy, and everybody’s uniquely qualified to speak to that. With other projects, there are people who have an experience advantage, a technical advantage or some established thought leadership. Everybody knows what makes people happy. So you can make the show, I can make the show, my mom can make the show, and because of that, everything’s almost implicitly right or wrong.

Let’s talk about specific episodes, like the ones featuring the prom and Hamilton? What were some of the challenges of working with all of that footage. Maybe start with Hamilton?
That one was a really fun puzzle. My partner at Senior Post, Joanna Naugle, edited that. She drew on a lot of her experience editing music videos, performance content, comedy specials, multicam live tapings. It was a lot like a multicam live pre-taped event being put together.

We all love Hamilton, so that helps. This was a combination of performers pre-taping the entire song and a live performance. The editing technique really dissolves into the background, but it’s clear that there’s an abundance of skill that’s been brought to that. For me, that piece is a great showcase of the aesthetic of the show, which is that it should feel homemade and lo-fi, but there’s this undercurrent of a feat to the way that it’s put together.

Getting all of those people into the Zoom, getting everyone to sound right, having the ability to emphasize or de-emphasize different faces. To restructure the grid of the Zoom, if we needed to, to make sure that there’s more than one screen worth of people there and to make sure that everybody was visible and audible. It took a few days, but the whole show is made from Thursday to Sunday, so that’s a limiting factor, and it’s also this great challenge. It’s like a 48-hour film festival at a really high level.

What about the prom episode?
The prom episode was fantastic. We made the music performances the day before and preloaded them into the live player so that we could cut to them during the prom. Then we got to watch the prom. To be able to participate as an audience member in the content that you’re still creating is such a unique feeling and experience. The only agenda is happiness, and people need a prom, so there’s a service aspect of it, which feels really good.

John Krasinski setting up his shot.

Any challenges?
It’s hard to put things together that are flat, and I think one of the challenges that we found at the onset was that we weren’t getting multiple takes of anything, so we weren’t getting a lot of angles to play with. Things are coming in pretty baked from a production standpoint, so we’ve had to find unique and novel ways to be nonlinear when we want to emphasize and de-emphasize certain things. We want to present things in an expositional way, which is not that common. I couldn’t even tell you another thing that we’ve worked on that didn’t have any subjectivity to it.

Let’s talk sound. Is he just picking up audio from the iPhones or is he wearing a mic?
Nope. No, mic. Audio from the iPhones that we just run through a few filters on Pro Tools. Nobody mics themselves. We do spend a lot of time balancing out the sound, but there’s not a lot of effect work.

Other than SGN and Ramy, what are some other shows you guys have worked on?
John Mulaney & the Sack Lunch Bunch, 2 Dope Queens, Random Acts of Flyness, Julio Torres: My Favorite Shapes by Julio Torres and others.

Anything that I haven’t asked that you think is important?
It’s really important for me to acknowledge that this is something that is enabling a New York-based production company and post house to work fully remotely. In doing this week over week, we’re really honing what we think are tangible practices that we can then turn around and evangelize out to the people that we want to work with in the future.

I don’t know when we’re going to get back to the post house, so being able to work on a show like this is providing this wonderful learning opportunity for my whole team to figure out what we can modulate from our workflow in the office to be a viable partner from home.


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

Video Chat: Posting Late Night With Seth Meyers from home

By Randi Altman

For many, late-night shows have been offering up laughs during a really tough time, with hosts continuing to shoot from dens, living rooms, backyards and country houses, often with spouses and kids pitching in as crew.

NBC’s Late Night With Seth Meyers is one of those shows. They had their last in-studio taping on March 13, followed by a scheduled hiatus week, followed by the news they wouldn’t be able to come back to the studio. That’s when his team started preproduction and workflow testing to figure out questions like “How are we going to transfer files?” and “How are we going to get it on the air?”

I recently interviewed associate director and lead editor Dan Dome about their process and how that workflow has been allowing Meyers to check in daily from his wasp-ridden and probably haunted attic.

(Watch our original Video Interview here or below.)

How are you making this remote production work?
We’re doing a combination of things. We are using our network laptops to edit footage that’s coming in for interviews or comedy pieces. That’s all being done locally, meaning on our home systems and without involving our SAN or anything like that. So we’re cutting interviews and comedy pieces and then sending links out for approval via Dropbox. Why Dropbox? The syncing features are really great when uploading and downloading footage to all the various places we need to send it.

Once a piece is approved and ready to go into the show — we know the timings are right, we know the graphics are right, we know the spelling is correct, audio levels look good, video levels look good — then we upload that back to Dropbox and back to our computers at 30 Rock where our offices are located. We’re virtually logging into our machines there to compile the show. So, yeah, there are a few bits and pieces to building stuff remotely. And then there are a few bits and pieces to actually compiling the show on our systems back at home base.

What do you use for editing?
We’re still on Adobe Premiere. We launched on Premiere when the show started in February of 2014, and we’re still using that version — it’s solid and stable, and doing a daily show, we don’t necessarily get a ton of time to test new versions. So we have a stable version that we like for doing the show composite aspect of things.

When we’re back at 30 Rock and editing remote pieces, we’re using the newer versions of Adobe Premiere Pro CC 2015.2 9.2.0 (41 Build). At home we are using Premiere Pro CC 2020 14.0.4 (Build 18).

Let talk about how Seth’s been shooting. What’s his main camera?
Some of the home studio recording has been on iPads and iPhones. Then we’re using Zoom to do interviews, and there are multiple records of that happening. The files are then uploaded and downloaded between the edit team, and our director is in on the interviews, setting up cameras and trying to get it to look the best it can.

Once those interviews are done, the different records get uploaded to Dropbox. On my home computer, I use a 6TB CalDigit drive for Dropbox syncing and media storage. (Devon Schwab and Tony Dolezal, who are also editing pieces, use 4TB G-RAID drives with Thunderbolt 3.) So as soon as they tell me the file is up, I sync locally on the folder I know it’s going to, the media automatically downloads, and we simultaneously download it to our systems at 30 Rock. So it syncs there as well. We have multiple copies of it, and if we need to, we can hand off a project between me, Devin or Tony; we can do that pretty easily.

Have you discovered any challenges or happy surprises working this way?
It has been a nice happy surprise that it’s like, “Oh wow, this is working pretty well.” We did have a situation where we thought we might lose power on the East coast because of rains and winds and things like that. So we had safeguards in place for that, as far as having an evergreen show that was ready to go for that night in case we did end up losing power. It would have been terrible, but everything held up, and it worked pretty well.

So there are certainly some challenges to working this way, but it’s amazing that we are working and we can keep our mind on other things and just try to help entertain people while this craziness is going on.

You can watch our original Video Interview with Dome here:

Frame.io offers beta version of Transfer, updates app to v3.6

Frame.io has launched Frame.io v3.6 along with a beta version of a new application called Frame.io Transfer. Frame.io v3.6’s new features are designed for the evolving needs remote workflows, with a particular focus on speed and security. The expanded toolset addresses the need for fast project downloads with the Frame.io Transfer app, boosts security with features like Watermark ID for enterprise accounts and improves collaboration with new features like iOS Offline Mode and Folder Sharing.

Frame.io Transfer works on both Mac and Windows OS. Transfer lets users download large files and sophisticated folder structures — even entire projects — with one click. It supports EDL and XML formats so users can identify specific files, accelerating the process of relinking to original camera files for final conforms, color grading or sharing assets for VFX. Transfer allows users to monitor active downloads and to drag and drop to reprioritize their order. Finally, Transfer facilitates fast and secure downloads, regardless of unstable internet connections; if there’s a disruption mid-download, Transfer pauses and automatically resumes once reconnected.

“Transfer was originally slated for release later this year, but as a response to the profound shift in the way we’re working and the tools our customers need immediately, we’re releasing it in beta today,” says Emery Wells, cofounder/CEO of Frame.io. (Check out our video interview with him below.)

For secure sharing, enterprise users can now secure Presentation and Review links using login-only access, which means that only specified recipients can view Share Links. Recipients will see a list of everything that’s been shared with them in Frame.io’s new Inbox, which offers a clean and focused view.

Frame.io v3.6 also has Watermark ID, which gives customers the ultimate layer of visible security. When any viewer presses “Play,” Frame.io completes a realtime, on-demand transcode of the video with that viewer’s personal identifying information burned into every frame. A two-hour video starts playing back in less than two seconds.

Offline Mode

Users can now add folders to Review Links, allowing them to easily organize and share assets across teams or projects. Any changes made to folders after they are shared are dynamically updated in the Review Link. This is especially useful for teams that produce episodic content or programming that relies on a library of media. Frame.io also made it faster, easier and more intuitive to organize assets with an improved “Move-to” and “Copy-to” flow.

With this update, Frame.io users will now be able to see all the Presentations they’ve shared and access their settings from one organized list. The display shows folder sizes so users can see at a glance which are the heaviest projects, making it easier to optimize projects and storage.

Frame.io v3.6 consolidates notifications made on the same video within short periods of time, grouping them together into one notification. Users can filter by read or unread, see comment previews and scrub asset thumbnails to easily spot what needs to be reviewed or addressed.

Offline Mode for Frame.io’s iOS apps allows users work from anywhere. They can tap a file to make it available offline, then review and leave comments. As soon as the app comes back online, comments are automatically synced to the project.

How VFX house Phosphene has been working remotely

By Randi Altman

In our ongoing coverage of how studios are working remotely, we reached out to New York City-based visual effects house Phosphene. Founded in 2010 by Vivian Connolly and John Bair, Phosphene specializes in photorealistic VFX for film and television, and is particularly known for their detailed CG environments and set extensions.

This four-time Emmy-nominated (Mildred Pierce and Boardwalk Empire Season 3, Season 5, Escape at Dannemora) studio’s more recent work includes The Plot Against America, The Hunters, A Beautiful Day in The Neighborhood and Motherless Brooklyn.

The Plot Against America

Like many others, Phosphene tasked with developing secure remote workflows, so we reached out to director of IT Jimmy Marrero and head of operations and strategy Beck Dunn to find out more.

How is Phosphene weathering this storm? Do you have most of your folks working remotely?
Beck Dunn: We were fortunate to be able to switch to remote work very quickly and are extremely grateful for our team who had been preparing for this major change. We are grateful we are in a position to support staff and productions who are able to continue working remotely.

Can you talk about what it took to get artists setup from their homes and walk us through that workflow?
Jimmy Marrero: Luckily, we’ve had experience with using PCOIP technology in the past and were in a good place to transition smoothly to remote work. We had a good number of workstations already set up with PCOIP remote workstation cards. We also leveraged AWS to create cloud workstations that are connected to our office via a VPC (virtual private cloud). This gives us the capability to securely increase our capacity for work way beyond any physical hardware limitations.

What tools are you using to make sure these folks stay connected?
Marrero: We all communicate with each other via chat using an open-source tool called Rocket.Chat. Producers connect via BlueJeans video conference.

For anyone setting up a remote pipeline, I would also recommend taking advantage of cloud-based software like Slack for communication, Trello for organization, and AnyDesk to allow IT to help troubleshoot any issues that might occur during the setup process.

What about security and working remotely?
Marrero: Security was the driving force for us to investigate the advantages of PCOIP technology. Having remote workstation cards installed at the office allows us to stream encrypted screen information directly to the artists monitors and eliminates the need for any data to be hosted outside of Phosphene’s internal network.

Using PCOIP combined with only being able to access our network via VPN with two-factor authentication, we were able to address many security concerns from our clients, which was a key factor in our being able to work remotely.

PCOIP technology also allows us to easily use all the tools on our internal network, with no change in set up, or compromise to security. Once logged in, artists are able to access Nuke, Hiero, 3dsMax, Houdini and Deadline as though they are in the office.

What types of work are you guys doing at the moment?
Dunn: We can’t talk about any of our current work, but one project we recently finished is HBO’s The Plot Against America, created by Ed Burns and David Simon. The show is based on Philip Roth’s 2004 novel depicting the lives of US citizens in an alternate history where Franklin D.Roosevelt loses the 1940 presidential election to Charles Lindbergh.

Phosphene worked with show-side VFX supervisor Jim Rider on a wide range of visual effects for the show, including creating period-accurate aerial views of 1940’s Manhattan, exteriors of Newark Airport and a British Navy base, and extensive crowd duplication shots inside Madison Square Garden. In total, Phosphene delivered 274 shots for the limited series.

The Plot Against America

Any tips for those companies who are just starting to get set up remotely or even those who are currently working remotely?
Marrero: Be nice to your IT department. (Smiles) Working remotely has many moving parts that need to all work perfectly for things to go smoothly. Expect delays in the beginning as all the kinks are worked out.

What has helped staffers get settled into working from home?
Dunn: I’ll let them speak for themselves.

VFX producer Matthew Griffin: I found it really helpful to set up a dedicated mini-office rather than just working on a laptop from the couch. When I sit down at my workspace, I feel like I am still “going into” the office. Holding team meetings via video chat and maintaining rituals like having my morning coffee at the same time also helps me to stay in a familiar rhythm. We also have a dog, so walking him at the end of the day makes the workday feel complete. I close the laptop, walk the dog, and once I’m home, it’s like my commute is over and it’s time to relax.

VFX producer Steven Weigle: Producers are used to working remotely for short stints, so this hasn’t been an entirely foreign experience. I did recently add a KVM switch to my home setup, to use my full-sized keyboard, mouse and monitor to control my work laptop but be able to switch back to my personal machine with the click of a button. It’s a small, basic upgrade but it helps me maximize my desk space while still separating my “work brain” from my “home brain.”


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

Hecho Studios: Mobilizing talent and pipeline to keep working

By Ryan Curtis

When Hecho first learned of the possibility of a shutdown due to COVID-19, we started putting together a game plan to maintain the level of production quality and collaboration that we are all used to, but this time remotely. Working closely with our chief content officer Tom Dunlap, our post production workflow manager Nathan Fleming and senior editor Stevo Chang, we first identified the editors, animators, colorists, Flame artists, footage researchers and other post-related talent who work with us regularly. We then built a standing army of remote talent who were ready to embrace the new normal and get to work.

Ryan Curtis

It was a formidable challenge to get the remote editorial stations up and running. We had a relatively short notice that we were going to have to finalize and enact a WFH game plan in LA. In order to keep productions running smoothly, we teamed with our equipment vendor, VFX Technologies, to give our IT team the ability to remote in and fully outfit each work station with software. They also scheduled a driver to make contact-free drop offs at the homes of our artists. We’ve deployed over 15 iMacs for editorial, animation and finishing needs. We can scale as needed, and only need two to three days’ notice to get a new artist fully set up at home with the appropriate tools. Our remote edit bay workstations are mainly iMac Pros, running the Adobe suite of tools, Maxon Cinema 4D, Blackmagic DaVinci Resolve and Autodesk Flame.

We have outfitted each member of our team with Signiant, which allows for rapid speed file transfers for larger files. If an artist’s home internet is not up to snuff for their project, we have been boosting their internet speeds. To maintain file integrity, we are rolling out the same file structure as you would find on our server, allowing us to archive projects back to the server remotely once delivered. We’ve also designated key people who can access the in-office stations and server virtually, retrieve assets and migrate them to remote teams to refresh existing campaigns.

The need to review during each phase of production has never been stronger. We tested a wide variety of review solutions, and have currently settled on the following:

• For Animation/Design-Based Projects:
Frankie – Export-based interactive reviews
• For Editorial Projects:
Evercast – Live plug and play sessions
Wiredrive (often times paired with Google Hangouts or Zoom)
• For Finishing:
Vimeo Review – Export-based color reviews
Streambox – Live color collaboration (paired with Google Hangouts or Zoom)
Frankie – Export-based interactive reviews
Wiredrive for deliverables (often times paired with Google Hangouts or Zoom)

Our collective of talent remains our contracted veteran Hecho crew, well over 50 people who know our shorthand and in-office workflows and can easily be onboarded to our new remote workflow. If needed to satisfy a specific creative challenge, we bring in new talent and quickly onboard them into the Hecho family.

In terms of how we deal with approvals, it depends on the team and the project. If you have a dedicated team to a project it can be even more efficient than working in the office. Overcommunication is key, and transparency with feedback and workflows is paramount to a successful project. However, in many cases, efficiencies can be lost and projects currently move about 20 percent slower than if we were in the office. To combat this, some teams have structured a little differently as it can be hard to wrangle busy individuals with fast deadlines remotely. So having approved backup approvers on board has been immensely helpful to keep projects moving along on time. And without clients in the bay, we lean even more on our post producers to funnel all questions and feedback from clients, ensuring clear back and forth with artists.

NFL #stayhomestaystrong

Challenges Solved
Aside from the lack of in-person interaction and the efficiencies of quick catch ups in the hall or in the bay, the biggest challenge has been home internet speeds. This affects everything else that’s involved with a WFH set up. In some cases we had to actually upgrade current ISP contracts in order to reach an acceptable baseline for getting work done: streaming reviews, file sharing, etc.

The other challenge was quickly testing/evaluating new tools and then getting everybody up to speed on how to use them. Evercast was probably the trickiest new product because it involves live streaming from an editor’s machine (using Adobe Premiere) while multiple “reviewers” watch them work in real time. As you can imagine, there are many factors that can affect live streaming: CPU of the streaming computer, bitrate you’re streaming, etc. Luckily, once we had gone through a couple setups and reviews (trial and error) things got much easier. Also the team at Evercast (thanks Brad, Tyrel, and Robert!) were great in helping us figure out some of the issues we ran into early on.

Our First WFH Projects
For our first COVID-19 response project, we worked with agency 72andSunny and the NFL to share the uplifting message #Stayhomestaystrong. Behind the scenes, our post team produced a complete offline to online workflow in record time and went from brief to live in six days while everyone transitioned to working entirely remotely. #Stayhomestaystrong also helped bring in $35 million in donations toward COVID relief groups. Credits include editors Amanda Tuttle, Andrew Leggett, assistant editors: Max Pankow, Stephen Shirk, animator Lawrence Wyatt, Flame artists Rachel Moorer, Gurvand Tanneau and Paul Song and post producer Song Cho.

Stay INspired

Another project we worked with 72andSunny on was COVID-19 response ad, Pinterest Stay INspired, involving heavy motion graphics and a large number of assets, which ranged from stock photos, raw video files from remote shoots and licensed UGC assets. The designers, motion graphics artists, writers and clients used a Google Slides deck to link thumbnail images directly to the stock photo or UGC asset. Notes were sent directly to their emails via tags in the comments section of the slides.

Our team shared storyboards, frequently jumped on video conference calls and even sent recorded hand gestures to indicate the kind of motion graphic movement they were looking for. Credits for this one include editor/motion designer: Stevo Chang, motion designer Sierra Hunkins, associate editor Josh Copeland and post producer Cho, once again.

What We Learned
WFH reinforced the need for the utmost transparency in team structures and the need for super-clear communication. Each and every member of our team has needed to embrace the change and take on new challenges and responsibilities. What worked before in office, doesn’t necessarily work in a remote situation.

The shutdown also forced us to discover new technologies, like Evercast, and we likely wouldn’t have signed up for Signiant for a while. Moving forward, these tools have both been great additions to what we can offer our clients. These new technologies also open up future opportunities for us to work with clients we didn’t have access to before (out of state and overseas). We can do live remote sessions without the client having to physically be in a bay which is a game changer.


Ryan Curtis is head of post production at two-time Emmy-nominated Hecho Studios, part of MDC’s Constellation collective of companies.